Analysis of the “Berton’s Report” film sequence from “Solaris” directed by Andrei Tarkovsky (1972) “I want to emphasize yet again that, […], cinema is an art which operates with reality…” (A. Tarkovsky 1989: 177) [1] I. Introduction Andrei Tarkovsky is one of my favorite directors. I admire his films. However, to interpret and analyze the […]
Introduction In her article “The Concept of Cinematic Excess,” Kristin Thompson speaks of a dual tendency in film criticism: we could see films as a “struggle of opposing forces,” some of which “strive to unify the work, to hold it together sufficiently that we may perceive and ‘follow’ its structures.” Outside of these structures “lie […]
The Spanish philosopher José Ortega y Gasset has referred to man as a “conscious cosmic phenomenon”. What he meant by this has everything to do with the fact that there is at least one cosmic entity that is capable of self-awareness in the universe. Ironically though, Ortega recognized that this reality remains the most transparent […]
In Solaris (1972), Andrei Tarkovsky presents a vision of contemporary society as one that has become cut off from nature, and provides a narrative that illustrates the possibility of remaining human in the inhuman world that is the result. The film contrasts a life-affirming natural landscape to an urban, constructed landscape where the natural world […]
In the essay entitled “Nature as ‘Comfort Zone’ in the Films of Andrei Tarkovsky” in the last issue of Offscreen I discussed the unique manner in which Tarkovsky situates nature as an arena of respite from all forms of emotional and physical pain. One of the films I analyzed closely was Ivan’s Childhood, a film […]
The growing impact of Traditionalism in modern Russia is not just due to the fact that a group of Traditionalist-oriented former Soviet dissidents like Alexander Dugin and Geydar Jamal have managed to reach the prime of their intellectual and (mediated) political influence. It is also a result of the susceptibility of some strata of modern Russian […]
Unlike hefty amount of authors on whom it is relatively easy to debate rationally – meaning, empirically justifies – Tarkovsky is a cineast that does not bear many words, who is resisting all judgment, who demands a metaphor in order to explain the world in which he spiritually exists, that simply expects a certain spiritual, cognitive […]